Program Book - Colorado MahlerFest

Robert Olson, Music Director
:.:
January 8= 10,1993
Grusin Music Hall, Imig MuSic Building'
University of Colorado College of Music, B,oulder, Coloradb
The Colorado MahlerF est
Mahler was the first composer to shatter the Victorian intellectual tradition of bland
rationality and blind optimism. His vision of the world, so clearly mirrored in his works,
reflected the problemsof life,of love, of achievementand failure, of happiness and fame from
the viewpoint of death. Predictably, Victorian audiences were utterly perplexed by both the
emotionalhonestyandemotionalcomplexityofthisapproach. However,today'sgeneration
of listeners finds itself increasingly in accord with a composer who does not spare them the
trouble of stretching their emotional range. The American critic David Hall eloquently
summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's
own day, and perhaps even for those between the two world wars, his musical message was
too strong a dose of bitter medicine . . . Today, whatwere once Mahler's private anxieties and
aspirations . . . now find an echo in the experiences of many hundreds of thousands. They
are those for whom the circumstances of war, of over-developed technology and underdeveloped humanity . . . have posed the hard<ore questions of faith in human destiny that
Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense/
become conunon to all of us, his music has begun to find a home throughout the world."
FIis music may reach contemporary ears/ but contemporary budgets do not promote
frequent performances of the great symphonies of Mahler, other than the popular Firsl and
Fourth symphonies. Complete works forhundred-piece orchestras and choirs,lasting nearly
two hours and demanding extraordinary performance skills still only find periodic inclusion
in orchestra seasons, and then only with major, professional orchestras.
Thus came the idea to create a Festival dedicated to the performance and study of the
entire repertoire of Mahler, a Festival where one can program "Songs of a Wayfarer" and the
First Symphonu onthe same concertbecauseof theirsimilarities. A Festival inwhich dedicated
amateur and professional musicians gather from different orchestras around the state, and,
as it has turned out from across the nation to perform what are generally considered the
greatest symphonic creations in the repertoire. A Festival which athacts a timpanist to come
from Texas, a soprano to travel from Chicagq a violinist to come from Oklahoma. uA
Symphony is like the world. Itmustembrace everything," Mahler once declared. For three
days eachyear, the Colorado MahlerFestallows its participants and audiences to explore the
work of one of history's greatest musical prophets!
Funding for MahlerFest W has been yooidet in pm't grants from:
the Scientific and Cultural F acilities Distict, ailministereil by the Boulder County Commissioners,
the Nadata Enduommt for the Arts and Humanities,
md the Boulder Arls Commission, an agency of the Bould* City Council.
Colorado MahlerFest
BOARD OF DIRECTORS
Stan Ruttenbe rg, Pr e sid eat
David Hummer, past president
Pat Ruttenbe rg, S ecr et ary
Claude McMillan, Vice President
Charles Demarest Treasurer
Jennifer Motycka, legal assistance
Julie Birschbach
Steven Bruns
Bob Collins
Don Griffis
Jeanna Wearing
ARTISTIC STAFF
ARTISTIC DIRECTOR & CONDUCTOR
Robert Olson
DIRECTOROF COLLOQUIA
Steven Bruns
CONCERTMASTER
Annamaria I(aracsony
ADMINISTRATIVE & PRODUCTION STAFF
GENERAL MANAGER
Georgina Petheo
PRINCIPAL STAGE MANAGER
Robert Arentz
STAGE MANAGER
Brian St. John
ASSISTANT TO THE DIRECTOR
Richard Thomas
ASSISTANT CONDUCTOR
Brian St. John
RECORDING TECHNICIAN
Glenn Sherwood
PROGRAM DESIGN / TYPESETTING
Tom Morgan & Nicky Kroge
POSTERDESIGN
Bob Collins
The Colorado MahlerFest is co-hosted by the University of Colorado College of Music, Dr. Robert
Finh dean.
SPECIALTHANI(S TO:
The Austrian Cultural Institute for providing the Photographic Exhibit and the film of Mahler's Kndutotenlieder,
The Longmont Symphony Orchestra and the Boulder Philharmonic for their assistance, and
The Bank One Senior Program.
Colorado MahlerFest
VI
Robert OlsorU Music Director and Conductor
]anuaryS-10,L993
Dedicated to the perforrnnce and study of the entire Mahler repertoire
Schedule of Eoents
Friday,January 8
8:00
p.m.
Concert
Chamber
Grusin Music Hall
Richard Sfrauss,Lieda
Mahler, Lieder eines fahrendm Ge*llen
Fllm: Kndqtotenleider (1976), directed by Titus kber
Mahler, Symphony #6,1st movement arranged for two pianos by Alexander von Zemlinsky
Saturday, ]anuary 9
L:00
p.m.
3:15p.m.
lmig Music Building,
Film: Freud, directed by John Huston
College of Music, CL99
Hosted by IGthryn Bernheimer, Daily Camera film critic
Film provided by the kind generosity of the Austrian Cultural Institute
PanelDiscussion: RecordingsofMahler'sSymphonyNo.6
Dr. Karl Kroeger, Head of Music Library, University of Colorado
Dr. Stanley Ruttenberg, President, Colorado MahlerFest
Moderator: Jeanna Wearing, Host of "Masters of Music", KPOF
6:45
p.m.
Lecture: An lntroduction to Mahler's Symphony No. 6
Dr. Steven M. Bruns
8:00
p.m.
Concert
:
CL99
CL99
Grusin MusicHall
Symphony #6, conducted by Robert Olson
Performed with Sclwrzo movement second and three hammerblows of fate.
Sunday, ]anuary 10
1:00
p.m.
Panel Discussion: Mahler'sUse of Unconoentional
lnstrumentation
C199
ffi #:fl?l1:luanerpest
orchestra
Moderator: Jeanna Wearing, Host of "Masters of Music", KPOF
3:15p.m.
Lecture:
AnlntroductiontoMahler'sSymphonyNo.6
CL99
Dr. Steven M. Bruns
5:30
p.m.
Concert
:
Grusin MusicHall
Symphony #4 conducted by Robert Olson
Performed with Andante movement second and troo hammerblows of fate.
Visit the exhibit of photographs relating to Gustav and Alma Mahler and their associates, in the Conference
Room of the Imig Music Building. This exhibit is kindly provided by the Austrian Cultural Institute.
All eoents take place on the CU Boulder campu* Tickets are aoailable for the entire Festiztal or for indioidual went*
Tickets me required for the concertsbut admission to the lrctures and films is t'ree (though a donation is apyeciated).
Colorado MahlerFest
VI
Friday, January 8
Grusin Music Hall
8:00 p.m.
Patti Peters on, sopr ano
Julie Sims on, mezzo-sofrano
Robert Spillman, piarn
Paul Floyd, piara
Richard Strauss, Lieder
DeNacht, op
L0, no. 3
lch Schwebe, op, 48, no.2
FreundlicheVision, op.48, no. 1
SchlechtesWetter, op 69, no. 5
Lieder eines fahrenden Gesellen
Wenn mein Schctz Hochzeit macht
Ging leut' Morgen ilbq' s Feld
lchhab' ein glilhend Mes*r
De zutriblauen Augen
Film: Kinilqtotenliedq
(197 6)
Produced and directed by Titus Leber.
Starring Elisabeth Kalina, Steve Bernas, and Susanna Fichtenbaum.
INTERMISSION
Symphony #6, firstmooen ent
Arranged for piano four hands by Alexander von Zemlinsky
Colorado MahlerFest
VI
Saflrrday, lanuary 9
8:00 p.m.
Grusin Music FIaII
Colorado MahlerFest Orchestra
Robert Olson, unductor
Symphony #6 in a minor
Allegro energico, ma non troppo
Sctterzo: Wuchtig*
Andante Moderato
Finale: Allegro moderato +*
*
Performed in the movement order as cotttposil by Mahler
** Performed with the three
"hammerblows" of fate as frrst ampo*dby Mahler
Colorado MahlerFest
Vl
Sunday, January 10
Grusin Music Hall
5:30 p.m.
Symphony #6 in a minor
Allegro energico, ma non troppo
Andante Moderato*
Scherzo: Wuchtig
Finale: Allegro moderato **
*
Performed in the movement order as anducted by Mahler
** Performed with only two "hammerblows" of fate as anilucted by lvtrahler
Mahler's Sixth Symphony
NOTES ON TIIE PERFORMANCE DIEFTXTNCES
Mahler never stopped revising his scores, often times adjusting them only slightly to accomodate
the acoustics of a given concert hall. But nowhere in the scholarly quest to find the "original" intent
of the composer has a controversy so lastingly continued as to the movement order of the Sinh
Symphony. Mahler originally planned the symphony with the Scherzoplaced second and the Andqnte
third. However, at the premiere in Essen, conducted by Mahler himself, and at most performances
tlrereafter, the movement order was altered, placing the Andmte second. The problem was
exacerbated by princd editions of Mahler's original score and orchestral parts, reflecting his original
plary later followed by revised scores and parts reflecting his performance preferences. Though
there seems to be no composer-approved performance order, the Gustav Mahler Gesellschaft
published a new score in 1963 with the Scherzo placed second, thereby reigniting the controversy.
Equally controversial is the number of hammerblows to be included in the final movement The
composer originally planned threq and included the third blow in the premiere performance, whictg
in Mahler's own words, 'fells the hero like a tree". But Mahler was terrified by the superstitious
implications of the third hammerblow, and before long excluded it from his performances.
At the suggestion of noted Mahler devotee Gilbert IGplan, I have decided to present the great
Sinh Sypmhony inbothversions, giving the dedicated Mahler-lover a rare opportunity to determine
personal preference based on live performance. Thus , Saturday's performance will be presented as
Mahleroriginallycomposedthesymphony, withtheScherzoplacedsecondandthreehammerblows
played in the final movement this performance practice is most corunon in today's concert halls.
Sunday's concert will be performed withthe Andanfe second and only two hammerblows in the final
movement the version one might have experienced 88 years ago!
Robert
Olsn
Program Notes
Richard Strauss, Lieiler
Lieder eines fahrenilen Gessellen
The melodic lyricism, so evident in the operas of
Richard Strauss, is no less present in his lieder. Strauss
composed lieder throughout his long and prolific career
exceptduring the period of 1906-18 when he was composing his greatest operas. This hiatus was not due entirely
to his concentration on opera but also to a d ispute with his
publisher, Bote and Boclg over copyright of his songs.
Strauss idolized Goethe butseldom sethis poetry to
music, choosing to avoid poets whose work he felt had
been satisfactorily teated by other composers. As Sfrauss
related, his method of compositionalways beganwiththe
The Lieder dnes fahrendm Gessellen were written in
1883-4 while Mahler was a young Kapellmeister at the
Poem:
"For some time I will have no impulse to compose
all. Then one evening I will be turning the leaves
of a volume of poetry; a poem will strike my eye.
I read it through; it agrees with the mood I am iry
and atonce the appropriate music is instinctively
fitted to it. I am in a musical frame of mind, and all
I want is the right poetic vessel into which to pour
my ideas. If good luck throws this in my way/ a
satisfactory song results."
Although Opus 10, published in 1885 at age 2L, is
Strauss's first publishe d set of. lieder,Strauss's biographer
lists 42earlyunpublished songs and fragments. The poet
who inspired Opus
10 was
Hermann von Gilm zu Rose-
literary
contributions would be forgotten but for Strauss. Tonighfs selection from this set, De Nacht, is a quiet mood
picture in which Strauss effectively creates an atrnosphere by the use of tonal ambiguity. There are links of
musical affinity with the text suggesting perhaps Wolf.
The nexttwo selections come fromOpus 48, composed by
Strauss in Charlotenburg on September 25, L900. The first
of these, Ich S chwebe (Henckell) is reminiscentof Brahms's
waltzes or the perhaps some of the waltzes of the
Rosenkaoalier. The light-hearted remembrance of a true
love's farewell is complemented by Strauss's deft accompanimenl Freudliche Vision (Bierbaum), the best known
of the Opus 48 pieces, describes a daydream of natural
wonder and love found. The piece moves tranquilly with
a flowing melody which appears to have little or no
negg (1812-L864), an Austrian civil servantwhose
connection to the piano accompaniment. SchlectesWetter
(Fleine), one of Strauss's most descriptive songs, was
composed in 19L8 after his self-imposed drought in the
composition of lieder. While the flurryof arpeggios in the
piano depict the rage and fury of the stormy night outside, the long, sustained phrases contrast and present a
calmpicture of a littleold ladyand her daughterinside on
such a night.
Opera in Kassell. Inspired by his own unrequited love
affair for the singer, Johanna Richter employed at the
Opera, the songs lead one on the journey of a newcomer
to life who is driven to wandering by painful disappointment The set of songs were not performed until March
L6, 1896, six years after the symphony which they inspired. At that time they appeared with an orchestral
setting. The piano-vocal version which was published
soon thereafter reflects changes made by Mahler when he
orchestrated the piece. Just how pivotal these li ed er arc in
Mahler's development is demonstrated by the relationship between them and his Firsf Symplony. The opening
for No. 2 provides the main theme for the first movement
while the third movement takes the linden-tree theme
from No.4 as its mid-section.
Although Mahler wrote his own poetry for these
songs, several are based closely on the folk collection Des
KnabenWunderhorn In the first song mental irutability is
hinted at through the unexpected changes in rhythm,
tempo, and tonality. The second portrays a leisurelywalk
in a summer morning setting and introduces the nature
motive exhibiting the prominent interval of a fourth.
Although the song begins in the mood of optimism, by
the end this has transmuted into resignation. The third
effectively portrays personal anguish by the use of chromaticism and dissonance. Throughout, music of beauty
and tranquillity is associated with the eternal regeneration of Nature. At the end of the fourth song the music of
the wanderer merges into the Nature music, taking on a
genuinelytragic tone. Abrief return to the song's opening
funeral march carries an unexpectedly somber resonance.
Piano Transcription of the First Movement
of Mahle/s Sixth Symphony
The practice of franscribing orchestral works for the
keyboard is an old tradition indeed. J.S. Bach's kanscriptions of severalof Vivaldi's concerti come immediatelyto
mind. One of the first composers to demonstrate the
piano's potential as a vehicle for transcriptions of works
scored for the larger modern symphony, however, was
FranzLiszt During his lifetime he produced many two
piano transcriptions, most notably of several of his large
tone poems, both his Dante and Faust syrnphonies, several of Berlioz's works, and Beethoven's Ninth Symphony.
Liszls purpose reached beyond the study of these pieces
and successfullydemonstrated the piano's coloristic and
textural possibilities in this idiom. It is important to note
that before the advent of recording, this was the sole
means available to composers for the study of great
masterpieces. Beyond this purpose, the publication of
transcriptions of symphonies made parlor performances
of these pieces possible forpeople
withlittle orno oppor-
tunity to become acquainted with the original works.
The composer and teacher who composed tonight's
transcriptiory Alexander Zemlinsky (1871.-1942), was
born in Vienna spending most of his life there and in
Prague. In 1938 he fled to the United States to escape Nazi
oppression. Zemlinsky enjoyed a lifelong friendship
with Schoenberg whom he instructed in counterpoint
and composition during the years 1895-97. He arranged
some of Schoenberg's first performances and premiered
his monodrama Enoartung.He developed a friendship
with Mahler when Mahler presented his second opera/
Es roar einmal, at the Hofoper in 1900, the two men
working hand in hand on its revision.
Sixth Symphony
Mahler's Sixth Symphony is one ofthe most emotional
statements of
a
manwho was bynature hyper-emotional.
write a program for the work although he did add the
word "Tragic" to the title for the first performance only to
delete it later. Alma Mahler relates thaf according to
Mahler, he tried to express her in the second theme of the
first movement that the Scherzo represented the
unrhythmic games of the children tottering zigzags over
the sand, and that the three hammer blows in the last
movement represented "the hero on whom fall three
blows of fate, the last of which fells him as a tree is
fulled..." Commenting on the purely musical content of
the symphony Mahler stated that, "My Sixth will be a
source of mystery only approachable by a generation
which has taken up and digested the first five."
Mahler conducted the firstperformance atthe music
festival staged by the Allgemeiner Deutcher Musikverein
in Essen on May 27, 1906. He was so exhausted by the
emotion invested tha! byhis ownestimatiory he did not
conduct the work well. Due to the pessimistic overall
character of the work and its harmonic boldness containing many chords which are barely assignable to keys, tJre
symphonyis perhaps the leastpopular of his symphonies
and was not performed in the United States until 1947.
Despite this fact, its influence on the next generation of
composers was enormous. Alban Berg proclaimed it "the
only Sixth, despite Beethoven's Pastorale."
The symphony opens ona "vehementbutvigorous"
march rhythm ushering in the first theme group. The
material of the entire symphony is contained in the motives of these first bars. The second theme group contains
the long flowing lyrical statement which Mahler associated with his wife. Falling into an extended sonata form
the movement ends with a coda which is thematically
independent from the rest of the movement and divided
from it by the sound of cowbells conjuring up a sense of
remoteness from the world. The march rhythm from the
opening of the first movement also opens the Scherzo,
this time transformed by shifts in accentuation and triple
meter. The trio, which Mahler labeled "altvaterisch" or
old-fashioned, parodies the gallant style.
The cantabile Andante, related to the later Kndertotmkider, provides necessary relief from the frenzied
surging which precedes and follows it. Two themes, the
It is ironic that the surtuners of 1.903 and
first introduced by the violins and the second by the
nies, were outwardly some of his happiest times. He
spent much of his time, when not composing, playtng
withhis youngdaughterand, in 1904 withhis newinfant
daughter, telling stories and dancing. As for the subjectof
hts Sixth Symphony, Mahler at the time was engaged in a
tainty and proceeds in a structure in which rigorous
development alternates with organized chaos. The ham-
1904, during
which he composed this most tragic of all of his sympho-
vigorous discussion on the subject of program music
with the scholar and critic Max Kalbeck and his friend
and fellow conductor Bruno Walter. After receiving
Walter's criticisms of program music which quoted
Wagner, Mahler replied, "If a man wants to create music,
he should not try to paint poeize, or describe. But what
rrnn composes is surely the whole mary his feelings, his
thoughts, his breathing, his suffering." Mahler refused to
English horns, paint a peaceful picture. The fourth movement uses material from the fust movement and scherzo,
the march rhythmof the symphony's opening becoming
a solemn gait. The movement opens in harmonic uncer-
mer blows begin the coda which for the last time quotes
the march rhythm which by this time is ripe with mean-
ing. Throughout the movement major and minor
struggle for dominance, concluding on an ambiguous
minor chord accompanied by funeral drums, fading into
darkness.
progr am not e s by Larry Wor st er
Robert Olson
Music Director and Conductor
Robert Spifhanv piano
MahlerFest creator and conductor
Robert Olson brings artamazingly active
and varied career to the podium, currently holding conducting posts with
four different oqganization^s, including
the entire spectrum of the concert stage:
the symphony, opera/ and ballet. These
include his sixth year with the MaNerFest, his tenth year as Music Director of
the Longmont Sy-phony, his third year
as Director of Orchestras and Artistic
Director of the Opera program at the
Consenzatory of Music, University of
Missouri-Kan^sas City, and his first year
as conductor for the State Ballet of Missouri. Together, he conducts eight different orchestras including the Kansas City
Symphony and one of the top orchestras
in the world, the St. Louis Symphony,
conducting approximately 70 performErnces
Per yetr.
He has held conducting posts with
the Omaha Sy*phony, Boulder Baroque
Chamber Orchesfrd, the University of
Colorado opera and orchesfrd, Boulder
Civic Opera, Arapahoe Chamber Orchesfrd, Arvada Chamber Orchesttd, the
return engagements, with sched uled concerts in Bucharest, RomaniO Liege, BelBluffi, and Maracaibo, Venezuela. He is
recorded on the CRS label.
As a recipient of the
coveted
Fulbright Scholar Award, Olson studied
with the legendary pedagogue Hans
Swarovsky of the Vienna Philharmonic.
In addition to Swarovsky, Olson studied
withYuri Krasnapolsky of the New York
Philharmonic, and such well known con-
ductors as Leonard Bernsteiry Lorin
Maazel, Zubin Mehta, and Geoqg Solti.
Twice in recent years he was selected as
one of four conductors from around the
countryto workwith Andre Previnof the
Los Angeles Philharmonic and Herbert
Blomstedt of the San Francisco Symphony.
Until his move to Kansas CIty, Olson
was an internationally-recogni zed bassoonist as well. His recital and concert
tours had taken him to Japan, Europe
taught at Eastern Kentucky State for one
yetr, then senred in the US Army from
196043 as a pianist in the US Military
Academy Band at West Point. He then
studied with Artur Balsam and Dergius
Kagan in New York City and accompanied rehearsals and performances of
Porgy and Bess at the New York City
Opera Company with William Warfield,
Veronica Tyler and Robert Guilliaume.
He joined the faculty at Eastman in7973,
where he coached opera and taught accompanying and vocal literature. Professor Spillman is currently co-director of
the Opera C-enter at the Aspen Mu"sic Fes-
tival, where his duties include teaching
ducting opera presentations. He has
compostitions published through Edi-
recorded for Czechoslovakian Radio.
tionMusicus. His te xtbook,lheArt of Accampanying, was published by Schirmer
O1son began the Colorado MahlerFest on a dream and no budget six years
ago, and it has flourished to become, in
cess he was immediately invited for
MA degree in music theory. Spillman
United States. He performed on the 7990
Vienna International Music Festival and
conducted the symphony orchestuas
from the cities of Omaha (NB), Spring(NC),
School of Music, receiving a BM degree
and Perforrrers Certificate in piano and a
piano, opera, and languages, performing
frequently onchamber concerts, and con-
He is married to violist Victoria
Hagood Olson and has two beautiful
field (MO), Winston-Salem
Boulder. He studied at the Eastmarr
three times, and throughout half the
Colorado Lyric Theatre, and the Rocky
Ridge Music Festival.
As an active guest conductor, he has
Johnson City (TN), the Los Angeles Debut Orchesfrd, and the Nebraska Chamber Orchestra. Last year he conducted in
Belgium and Venezuela with such suc-
Robert Spillman is Chair of the piano
faculty at the University of Colorado at
chiJdrery Tori (5) and Chelsea (2).
the words of a critic, "one of Boulder's
most valuable culfural assets."
Books in1985 and his textbook, Sightreading at the Keyboard,was published in 1990 .
A recording of Mozart's lieder with sopril1o Teresa Ringholz has recenfly been
released on Arabesque Records. Mr.
Spillman has remained active throughout the U.S. as accompanist for such artists as Sy1via Rosenberg, Yehuda Hanani,
Paul Sperry, and Lucy Shelton and has
performed with numerous orchestras.
He is also busy as a clinician and teacher,
working wift both pianists and singers.
Pafti Petersorj soprano
Patti Petersory lyric soprano, is a new
addition to the voice faculty this year.
After receiving an undergraduate degree
in piano performance from Salem College, she went on to study voice with
Barbara Doscher at CU, eaming MM and
DMA degrees. Before returning to Colorado, she taught voice, vocal pedagogy,
dictiory and music theatre atWake Forest
University and the University of North
Carolina in Charlotte, N.C. Peterson has
coached with such notables as Martin
Katz, Gerhard Hiiscfu Martin Isepp, Dalton Baldwin, Vera Rozsa, and Judith
Raskin. She has sung such varied roles as
Susanna in The Marriage of Figaro and the
Julie Simsory firezzo - sopraflo
PailFloyd.,piano
Julie Simson has sung with opera
companies throughout the United States,
In addition to solo piano performin a
varietlz of musical endeavors including
including Opera Colorado in Denver,
Houston Opera, Dallas Opera, Santa Fe
Opera, and Opera Memphis, performing
such roles as Emilia it AeUo, Hansel in
Hansel and Gretel, the Composer in Aiadne auf Naxos, and Suzuki in Madams
Bufbrfly. She has also performed as soloist in major oratorio works with the Denver, Colorado Springs, C-edar Rapids, and
Milwaukee Symphonies.
In 1985 she received a grant to sfudy
and perform in Europe where she subsequently won the prestigious MozartPrize
at the International Belvedere Competetion in Vienna. She was also a finalist in
Most
recenfly, she per{ormed the title role in the Luciano Pavarotti International
Beatrice, an opera written especially for
Competition in Philadelphia and the G.B.
Governess inTheTura of the Screw.
her voice. Peterson has sung recitals
throughout the southeast, specializing in
Spanish, Scandinavian and contemporary comPosers.
Dealey National Awards in Dallas. Miss
Simson won the 1989 East and West Art-
ists Intemational Competetition for a
New York Debut and was presented in
recital at Carnegie Hall. She was also a
winner of the 1990 National Association
of Teachers of Singing Artist Award
ance, Paul Floyd is accomplished
accompanyrng, coaching, and chamber
music. Currenfly a student of Robert
Spillman in the Doctor of Musical Arts
program at the University of Colorado, he
holds the Master of Music degree from
the Eastman School of Music and graduated summa cum laude as an undergraduate from the University of Southern California. He has garnered a number of aca-
demic and performing honors. Last
sprirg he was declared national winner
of the Music Teachers National Associa-
tion/Wurlitzer Collegiate Artist Competition held inMami. This past summer he
served as a coach/accompanist for the
AspenMusic Festival Opera Theatre. His
local commitments include accompanying theBoulder Chorale, agraduate assistantship in accompanying at the University of Colorado, and organist at First
Congregational Church in Boulder.
Competitiory providing her with concerts and recitals throughout the nation.
Last March she participated in the
George Crumb Festival in Prague, where
she performed Ancient Voices ol Children
and Mailigals, Book
Miss Simson received her degrees from Western Michigan University and the University of Illi-
I.
nois and is currently Artist Teacher and
Assistant Professor of Voice at the Uni-
versity of Colorado at Boulder.
Dr. Karl Kmegeg panelist
Dr. Kroeger is Head of the Music Library at the University of Colorado. He
received a PhD from Brown University
and an MLS from the University of Illinois. He has published extersively, including books, articles, reviews, as well as
musical compositions ald arrangements.
The American Musicological Society and
the Colonial Society of Massachusetts re-
cently published his edition of. The Complete Works of lNilliam Billings.
Steven Bruns, Dbectorof Colloquia
Dr. Brurs is assistant professor of
music at the Universi$r of Colorado,
where he teaches unde4graduate and
graduate music theory courses. He
taught previously at Western Michigan
Univercity and Westem Kentucky University. He received his Ph.D. from the
University of Wisconsin-Madison where
his dissertation was an extended analyti-
cal study of the drafb for the Adagio
movement of Mahler's unfinished Ter#I
Symphony.In the summer of 1990, he was
awarded a grant from the National Endowment for the Humanities to study the
operas of Richard Wagner with Robert
Bailey at New YorkUniversity. In addition to codirecting the Boulder Geoqge
Crumb Festival in October of 1992, Dt.
Bruns planned the Prague Crumb Symposium where he conducted a public
interview with the composer and delivered three lectures. This is his sixth appearance at the MahlerFest.
Jeanna Wearing is the producer and host
of "Masters of Music" which broadcasts
daily on KPOF radio from 1:00 to 4:00
p.m. She isa native of Denver with family
ties dating to the early 1850's. Devotees of
good music throughout the West know
her for her notations in the conced programs of many regional orchestras, and
for her pre-concert lectures. Poetry lovers
might remember her for her interyretations of William Walton's Fagade vvith
David Lockington. Born to a musical
family, Miss Wearing spent her early
years studying piano, drama, ballet, and
voice. The diversity of her interests range
from Baroque to ballet, from Matisse to
Mahler, from Colorado to Vienna.
Kathryn Bernheimer has been the Boulder Daily Camera's film critic since 1983.
Bernheimer, who defected from academia tothe media, was hard atworkonher
doctoral dissertation in the University of
Colorado Departrnent of Theatre and
Dance when she started working as a
free-lance entertainment writer and theatre critic in 1980. She liked it so muctr,
she made a career switch and has never
looked back A native of Boston, she has a
MA in Theatre Arts from Tufts University and a BA in English Literature and
Theatre from C-ase WesternReserve University. She lives in Boulder with her
husband and her three-year-old daughter. Her brother, MartinBernheimer, is a
Pulitzer Prize-winning music critic for
the Los Angeles Times.
ANNOUNCING
The Colorado Gustav Mahler Society
When Gilbert Kaplan was in Denver lastJuly to prepare Mahler's Symphony No.2 for a performance at Red Rocks, he met with Colorado MahlerFest board members Robert Olson, Steve Brurs, and StanRuttenberg. They
mjoyed a long conversation on various aspects of Mahler's music. When Mr.
Kaplan realized the extent of the commitnent of the Colorado MahlerFest
Board, and that we have a significant local contingent of hard core Mahlerites, he uqged us to thinkabout forming a Colorado Gustav MaNer Society,
patterned after the eight or so other Mahler societies in the United States. He
volunteered to become the first member. As we mulled over his suggestiory
we concluded that the Society should initially be closely associated with the
Colorado MahlerFest, as it is presenting sequentially all the Mahler symphonies and his other works.
Members of the society would receive a quarterly newsletter, which
would alert them to important upcoming events involving Matrler. Local
events last summer, for example, included Symphony No. 2 at Red Rocks in
July, Symphony No. 5 at Keystone in
Ju!, and Symphony
No. 4 at the end of the
Colorado Music Festival in Boulder. The society could sponsor lectures,
films, and recitals, and also network with other societies to relay their news.
If you are interested, please check off the appropriate line on the
Program insert.
MahlqFestWI
lanuary
1,4
-'J,6,1994
Color ado MahlerF est Orchestra
Robert Olson, Music Director and Conductor
Violin
Gyongyver P etheo, asst. concertmaster
Paul Warren, yincipal Suond
Julie Warrer; asst. yincipal
Bass
Dale Day, qincipal
Jennifer Motycl<a, assidant pincipal
Roland Blauer
Jim Halderman
Arlette Aslanian
AndyHolmes
Francis Atallah
Trcmbone/Bass Trombone
Rick Starnes, yincipal
Gary Dicks
Mke Roper
Glenn Sherwood
John van Bradt
Anaamaria Karacsony, concerlmaster
Martha Dicks
John LaCognata
KimElmore
EmilyFenwick
Hory
Tuba
Linda Nas[ yincipal
Tom Stein
Lisa Fisher-Wade
Jill Feryuson
Charles Ferguson
LeahRiddick
Susan Hall
MaryMelquist
AdwynLim
MerrittMartin
ShawMatthews
Barbara Merrell
Rhea Parsons
Susan Schade
Andrea Spangler
Elaine Taylor
Celeste
Percussion
Flute/piccolo
Kay Lloyd, principal
PeggyBruns
C-arol
Humphrey
Cathleen Sease
Sarah Tomasek
Oboe
Viala
C-atherin King, Vin cip al
Sandy Anderson
Judy Cole
Arur Cardwell
Susan Kahler
Eva Mesmer
Eileen Saiki
Eleanor Sctrlecten
Claire Sidle
Dean Smith
Cindy Story
Margaret Davis, yincip al
Jack Bartow (€t Englidt Hc,rn)
KathyKucsan
Jennifer Longstaff (8 Englislt Hora)
Clortnet
Phil Aaholm, yincipal
Cheryl Corkran (8 Bass Clainet)
TomHess
Tony Spano (8 Eb Clainet)
Steve Trana (€t Eb Clminet)
Bassoon
Cello
Barth Story, yincipal
Kevin Johnsory assist ant pincip al
Hannah Alkire
Georgia Blum
Nada Fisher
Richard Rupp
Dina Sassone
Bob Schenkein
Mary Schlesinger
Margaret Smith
Leslie Temoin
JimWarwick
Timpani
AllanYost
Susan FIess, yincipal
Bruce Moore,qincipal
Ed Blasewitz
Bill Ferguson
Kari Klier
DougMadison
Orchestra
Affliations
of the members of the MahlerFest
Orchestra
Arapahoe Philharmonic Orchestra
Boulder Chamber Orchestra
Boulder Philharmonic
Boulder Sinfonia
Casper Symphony Orchestra
Centennial Symphony Orchestra
Central City Opera Orchestra
Cheyenne Symphony Orchestra
Colorado Ballet Orchestra
Colorado Music Festival
Colorado Springs Symphony Orchestra
Hotn
Colorado Wind Ensemble
Corservatory Orchestra,
University of Missouri - Kansas City
Denver Chamber Orchestra
Evergreen Chamber Orchestra
Ft. Collins Symphony Orchestra
Ft. Smith Symphony (Oklahoma)
Devon Parlg principal
Ed Collins
Elizabeth Estes
Justina Herod
Jefferson Syrnphony Orchestra
Litfl eton Chamber Orchestra
Longmont Symphony Orchestra
Lori Kimbel
JohnLimon
Mssissippi Symphony
Mostly Strauss Orchestra
Tom Schreiner
Dan Sniffen
Ron Torp
Northeast Symphony (Oklahoma)
Paducah Symphony (Kentucky)
Phoenix Symphony (Arizona)
Rocky Mountain Symphony
Salt Lake Symphony Orchestra (Utah)
Springfield Symphony (Missouri)
University of Colorado Symphony
LNC Symphony (Greeley)
David Baker
Paul Crowley (8 contrabassoon)
l-aurel Kallenbach
Debbie Torp
Tnrmpet
Marc FrrlSham, pincipal
KenEiken
David Fulker
Leonard Fahrni
Irving Philharmonic (Texas)
Without your contributions, there would be no MahlerFest
The Colorado MahlerFest is primarily a volunteer operation, including the members of the large orchestra!
We do have some recurring experses, however; ticket sales provide only a fraction of these expenses. We have
been fortunate in receiving some grants from the city, county, and state agencies and some corporate friends.
However, we operate very close to income and hence have little reserve for contingencies.
Pleasenote thatthe ColoradoMahlerFestis recognizedbythe I.R.S. as a501 (c)(3) not-for-profitcorporation.
Your contributions are taxdeductible to the fu.ll extent of the law. Thatkyou!
CONTRIBUTION CATEGORIES:
Patrons
Friends
Over $100
Under $1fi)
Please make your check payable to "Colorado MaNerFest" and send it to:
Colorado MahlerFest, P. O. Box 1314, Boulder, Colorado 80306-7374
MahlerFest Founding Members
(as
$700):
Demarest
MarionHigman
David S. &JanetHummer
Annemarie Mahler
Robert & Victoria Olson
Management Robotics
Stan & Pat Ruttenberg
Fuller Foundation
Robert & Louise Dudley
ofJanuary 2,7993)
Patrons (ozter
Erienils (uniler $700):
Charles
John M.
Bown
Gelman
Viola Haerfling
Marion Higman
David & Gertrude Holtslag
William & Mary Anne Jerome
Lorraine Kaimal
Andrew & Anne Keller
Julius and Dorothy London
Charles & Marian Matheson
Jim Mitchell
Dr. & Mrs. James Donald Monk
Harry&JeanNachman
Lloyd &Mary
Tonny-Broe Parkin
Gert &WaltPedlow
KarenRipley
Ernest Rost
Robert L. Resseguie
Chester F. Shans
Leo & Helen Ann Saidel
Andrew and Mary Skumanich
Marjorie Smith
Fred & Mary Trembour
Clare S. Udis
Alice Dodge Wallace
Ed
&MaryWolff
COLORADO MAHLERFEST RECORD OF WORKS PERFORMED
Piano
Quartet
Lieder und Gesdnge auf den Jugendzeit
Lieder eines fahrenden Gesellen
KnabenWunderhorn
Riickert
Des
Songs to Poems of
Suite from BWV 1067 and BWV 1068
Kindertotenlieder
1988
1988
1988
1989
(Bach/Mahler)
Vier Stiicke firr Klarinette und Klavier (Berg)
Sieben Frirhe Lieder (Bery)
Fiinf Lieder (AIma Schindler Mahler)
Vier Lieder (Alma fthindler Matrler)
Symphony #4, IV (Schoenberg Society arrangement)
Symphony #6, I (4-hand piano arr. by Zemlirsky)
Selected Lieder (Richard Strauss)
Symphony #1
Symphony #2
Symphony #3
Symphony #4
Symphony #5
Symphony #6
7989
1989
7990
1990
r990
1997
t997
1991.
1993
1993
1988
1989
1990
1991.
1992
7993
orchestra
Boulder Bach Festival
April 29 - May
Dr. Robert Olson, Conductor
1
. Robert Spillman, Music Director.
Grusin Music Hall, Universiry of Colorado
presents
its 26th Concert Season
at
Thursday, April29. 8:00 pm
An evening of orchestral and choral music
Fridap April30 .
8:00 pm
Chamber concert
Saturday, May
Vance Brand Civic Auditorium
600 East Mountain View
Skyline High School
I . 8:00 pm
The Easter Oratorio
featuring the Festival Orchestra and Chorus
Call494-3159 now for brochure!
January 30,1993
,,GHOSTS,
GOBLINS, MONSTERS AND
MUSIC,,
1-eauring Young Artist Winners
March 13,1993
toika M ilanov e, violin
Rick Thomas, Conductor
S
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April 17, 1993
REQUIEM by Verdi
303-776-0495
Lyle Motycka
Account Executive
Annuities - Life Insurance- Health
Insurance (individual and group) Long Term Care Planning and Medigap
Insurance
May 22,1993
''GERSHWIN AND FRIENDS''
Tickets are available at the door
Adults: $7.00
(Senior Citizens and Students: $6.00)
Jennifer L. Motycka
Attorney at Law
Hopp & Associates, P.C.
T
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CONNECTION
303-449-2913
2130 Mountain View Avenue
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Longmont, Colorado 80501
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Thanks for another year of great
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